Dissertations / Theses on the topic 'Wood-carving'

This thesis is a study of the role of material forms as mediators of cross-cultural encounters in the Trobriand Islands. It is based on eighteen months of ethnographic research in Kiriwina and other parts of the Massim region, Milne Bay Province, Papua New Guinea. The dissertation analyses previously overlooked material expressions in the form of woodcarvings for sale (tokwalu) to outsiders. Throughout the thesis, I demonstrate how Trobrianders conceive tokwalu as symbolic and material tools for the apprehension of what is becoming an increasingly de-territorialised universe. Woodcarvings are deployed as instruments of indigenous analysis and native agency in an attempt to establish and control the local-translocal flows that shape social life in the Massim. Despite early contact and their ongoing engagement with the wider world, the Trobriand Islands are commonly portrayed as a place where cultural resilience and the continuity of traditional models of livelihood prevail over social change. Yet like elsewhere in Melanesia, Trobrianders face the transformations effected by dynamic processes of cultural, social and economic globalisation impinging upon their region. Overpopulation, food security issues and the partial collapse of traditional hierarchical structures have elicited the assemblage of new relational networks to negotiate these transformations. Tokwalu are not fixed signposts in a predefined system of meaning but changing materialisations of contrasting images and intentions within these networks. They bring together traditional symbols and modern elements in an effort to remain commensurate with what outsiders expect from local carvings and what local carvers expect from outsiders. Vehicles of desires and aspirations, woodcarvings project Trobriand personhood and appropriate alterity as an ideal, modern other. Ultimately, towkalu are empowering artefacts for locals. They allow them to buy food, get healthcare, obtain education, increase their social prestige, enhance their mobility and fulfil customary and new obligations. This research places this native view of tokwalu at its centre to posit the necessity of considering material assemblages as processes of indigenous analysis and action in Melanesia, without which our understanding of these processes remains severely curtailed.

Thesis (MScFor) (Forest and Wood Science)--University of Stellenbosch, 2007.
While the contribution of non-timber forest products (NTFPs) in sustaining livelihoods of the poor is gaining global attention, the importance of woodcarving trade in sustaining the livelihoods of the poor people has been poorly researched. A study was conducted in Cape Town area of the Western Province, South Africa to assess the contribution of woodcarving trade to the livelihoods of the traders and the dynamics of the trade, and institutional constraints impacting on the development of the trade. A total of 61 traders in wood carving, as well as municipal authorities and key informants, were interviewed using structured questionnaires; note taking, personal observations, and in-depth interview based open-ended questions. The findings of the study revealed that the woodcarving trade is a highly male (69%) dominated activity. Most traders were married (55%) and most of the respondents (63%) fell within the active age group of 21-35 years. The wood carving trade was dominated by highly literate people with 66% and 25% having reached secondary and tertiary education, respectively. The study also revealed that “earning a living” represented the single most important factor (70%) that pushed people into the wood carving trade. Most traders (85%) did not own property but for those who owned property, 56% were South Africans followed by Zimbabweans (22%). The study showed that most of the woodcarving products arriving in the Western Cape come from the SADC region accounting for 78% of the products. Malawi (36%), Zimbabwe (30%) and Kenya (13%) are the main sources of the wooden crafts curio into the Western Cape woodcraft market. The study also found that Dalbergia melanoxylon from Zimbabwe (47%) and Malawi (16%) and Brachylaena huillensis from Kenya (47%) and Afzelia quanzensis from Zimbabwe (27%) represent the most traded wood species. The wood for carving was mainly accessed through intermediate agents (48%) and on site purchase (43%); and polishing represented the most important process (80%) of value adding compared to painting and shining. Personal cars (38%) and buses (36%) were the main means of transportation used compared to other forms of transport. It was shown that cost (48%) and customer based price (33%) represented the main pricing methods used by traders. Shop owners had an average income estimated at R 6, 450 and R 2, 692 in good and lean month sales, respectively. In addition, seasonality represented the single most important factor (56%) threatening the woodcarving industry and the livelihood of urban traders compared to factors such as quality of wood product (18%) and scarcity of the resource (10%). This study found that traders had difficulties accessing physical infrastructures (87%); social assets (50%) and human capital (74%). On the other hand, 62% of the traders did not seem to have problems accessing natural assets. As a livelihood strategy, traders also undertook multiple activities including sale of minor products as well as soliciting extra help from companions and/or hiring extra help during peak seasons. For the sustainability of the woodcarving trade in the Western Cape, there is a need for sustained, long-term management of wood species used for carving through domestication and use of alternative wood species. In addition, policies should promote: (i) integrated resource use that will ensure maximum utilisation of the wood from a single tree e.g. timber and wood carving, (ii) the culture of association and cooperation among traders, (iii) collaborative mechanisms involving all players from the forest and the tourism sector as well as the traders, (iv) secure traders’ livelihood assets, (v) an environment favourable to business venture’s expansion and growth through micro-finance and micro-credit schemes.

Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1991.
Ce travail de recherche a été réalisé à l'UQAC dans le cadre du programme de maîtrise en arts plastiques de l'UQAM à l'UQAC. CaQCU Bibliogr.: f. 18. Document électronique également accessible en format PDF. CaQCU

In April 1982, Nishga carver Norman Tait hosted the raising of a fifty-five foot totem pole named Big Beaver at the Field Museum of Natural History in Chicago, Illinois. Over the winter of 1981-82 in Vancouver, British Columbia, Tait and five apprentices had carved the pole with images inspired by a story given to Tait by his maternal uncle, Rufus Watts, a man Tait calls grandfather. In the early spring of 1962, Watts had taught dances and songs to Tait, Tait's apprentices and other family members and the dancers created costumes and ceremonial paraphernalia for the pole raising ceremony in Chicago. In Chicago in April, members of the Northwest Coast artistic community and staff and patrons of the Field Museum participated in the contemporary Nishga cultural performance. This thesis is an ethnography of the events leading up to and including the pole raising ceremony. It is a case study of the revival of native Indian traditions, a revival that has been occurring on the Northwest Coast since the 1950's. The work addresses four questions. 1. How are native Indian visual and performance forms created from orally transmitted tradition? It describes how the contemporary native carver and his grandfather brought forward their traditions. It discusses the role of museums, anthropology, media, marketplace and other artists. 2. What is the nature of the communities generated by the artistic activity of a contemporary native carver? Included are descriptions of the Nishga and Northwest Coast artistic communities' participation in an expanded native Indian cultural project. 3. How does a museum contextualize a native Indian cultural performance and what meta-messages are communicated? The Field Museum refers back to the Native American participation in the 1893 World's Columbian Exposition in Chicago to contextualize their events in 1982. Were the messages that were overtly expressed in 1893 covertly communicated in 1982? 4. What changes occur in traditions that are brought forward in a contemporary cultural performance? There is a simplification of the traditional Nishga system of cultural messages and a shift in emphasis. There are also changes in the types of alliances for the production of the contemporary totem pole and an adaption of the traditional ritual system for the modern pole raising. The thesis concludes with some questions and discussion on how to assess contemporary native Indian cultural performance in non-traditional settings.
Arts, Faculty of
Anthropology, Department of
Graduate

This creative project interpreted and applied the buffalo in Native American culture - its symbolism, significance and virtues - to woodcarvings for the lives of people today. The carvings explored a range of styles, media and symbols but all use buffalo imagery and each piece represents how I have applied the buffalo to my life. Some pieces are based on historical events while others explore personal emotions. Wood surfaces differ from natural or bleached to painted. No style unifies the body of work. In each piece realism and abstraction, positive and negative space is handled differently. Buffalo facts and myths were interpreted to convey what white people can learn from the buffalo. It was a spiritual link and messenger from Native Americans to the Great Spirit. The buffalo was revered and respected as a vital in the life cycle. White man destroyed the buffalo during the nineteenth century through the acts of greed, disrespect and ignorance. It seems to have returned with a message for people of all races. This message is one that must be found within each individual.
Department of Art

Freqüentment els escultors parlen tot emprant termes com "el llenguatge de la matèria” o "el respecte per la naturalesa dels materials" . Això passa especialment a una part dels escultors nascuts en la primera meitat del segle, encara que també fan servir aquestes paraules altres escultors més joves. Generalment, es parla de matèries i no de materials, en considerar que les matèries tenen un pes específic originat pel que hem anomenat comportaments propis i la seva utilització històrica, mentre que als materials els manca aquesta peculiaritat històrica: són generalment novedosos, molts d'ells d'origen industrial, i s'han incorporat a la pràctica escultòrica recentment. Diversos autors atribueixen a Brancusi l'origen de la proposta que estableix el respecte per les propietats de la matèria com a una característica de l'escultura moderna. Són molts els escultors que han partit d'aquest principi i han continuat elaborant el llenguatge de la matèria com un recurs escultòric, fins a l'actualitat. La proposta d'investigació parteix d'aquesta filosofia en que es considera la matèria com un agent, més que com un pacient; és a dir, com una entitat capaç de manifestar les seves peculiaritats. Pressuposem que, quan l'escultor escull la matèria amb un plantejament similar a l'exposat en el paràgraf anterior, és perquè ja té una actitud d'estima cap a ella, en la mesura que intenta valorar la peculiar idiosincràsia del suport escollit. Per tant, es considera que l'elecció de la matèria ja condiciona, o ve condicionada (indistintament) pel propòsit inicial, per la disposició vers l'escultura, pel món referencial, pel mètode de treball, pels procediments, i pels resultats. En la nostra recerca, i amb el fi de concretar més, hem delimitat la hipòtesi de treball de la manera següent: La utilització de la fusta en la pràctica escultòrica, des de la perspectiva del comportament, pressuposa l'assumpció del pes cultural i tradicional que ha acumulat aquesta matèria al llarg de la seva història; hi destaquen tres aspectes fonamentals: la percepció plàstica de la natura i de l'arbre; la participació dels components simbòlics, tradicionals o primitius implícits en les societats primàries i arcaiques; i el contacte directe amb la matèria, amb la conseqüent aplicació dels procediments artesanals. En la proposta inicial d'aquesta tesi tenim en compte el matis temporal regressiu que comporta aquesta pràctica, en la mesura que s'hi recullen aspectes derivats d'una dinàmica obsoleta, generalment relacionada amb cultures de tecnologia rudimentària i que tenen un contacte directe amb la natura.

This research posits art as an encounter, an encounter between the conceptual worlds of artists and of viewers. It acclaims the respective art skills within the marae (communal meeting place) named Tangatarua at Waiariki Institute of Technology, Rotorua. Tangatarua Marae is a place of bicultural encounter. This writing includes readers in the social relations of this encounter. This is a qualitative study that uses an interpretive epistemology to examine some of the art forms of Tangatarua. My focus is on micronarratives - that is, on intimate, improvised meanings generated by some of the small artworks. These reference and affirm the symbolism of the carvings but are less visible due to their lesser scale and interstitial placement within the interior architecture. They are rendered more visible through the phenomenological detail of participant accounts as well as the positivism of a formalist critique. I posit art as a dialogical activity, inseparable from the phenomenological conditions that precede and inform it, and inseparable from the emergent meaning that is forged at its encounter. I contend that the collaborative mode of art production within Tangatarua embodies this dialogical model. I amplify some of the tangible art forms of Tangatarua by dismantling the intangible discursive forms that have impinged on them. These include aspects of the political context of the establishment of the marae, Waiariki Institute of Technology’s bicultural framework, and the pedagogy of its Art School. My writing is underpinned by a participatory paradigm acknowledging my situatedness as an artist participant within Tangatarua, a woman of Ngai Tahu descent, and art tutor at Waiariki Institute of Technology. This study similarly acknowledges the multifaceted, experiential transactions between those artists whose small collective gestures have informed and transformed the interior of Tangatarua.

E. Mervyn Taylor (1906-1964) was a pakeha artist whose prints drew influence from Maori culture and motif. He was one of a small number of artists who developed interest in Maori culture during the 1940s and 1950s. He expanded interest into detailed study of Maori culture, and interaction with Maori, and produced a significant body of prints on this subject during his career. Taylor's prints were acclaimed during his lifetime, but in the decades after his death, his reputation faded to the extent that he became relatively obscure. This persisted until the late 1980s, when art historical reassessment of his work began. This thesis forms a part of this continued re-evaluation. It focuses on Taylor's prints on Maori subjects, an area not sufficiently scrutinised in an academic context. It aims to reach deeper understanding of his prints through historical analysis of the factors that influenced him to choose Maori, and their culture as subjects for his artwork. The thesis also examines why Taylor's reputation was so emphatically based on his New Zealand heritage, as well as the quality of his craftsmanship, his beliefs about which formed the foundation of his philosophy. Nationalist and regionalist notions also figured in his aesthetic ideals. His prints are also placed in relation to the modern debate over cultural appropriation in art. Greater recognition and understanding of Taylor's oeuvre may be achieved by establishing why he chose Maori subjects, and what specific features they contributed to the character of his work.

A whakapapa of the marae Whakapapa, a Maori word, is often abstracted to the English language as the word genealogy. Whakapapa however has a more subtle and comprehensive meaning in Maori. In that language it has complex connotations of genealogical lines, yes, but also the history of the people involved and perhaps most importantly, the inter-relationships between those people. Degrees of consanguinity are all important when establishing relationships within Te Ao Maori - the Maori world. Marae, the basis of this thesis, is another Maori word. A marae, at its simplest, might be referred to as an agglomeration of separated, functional buildings on an area of reserved land, usually deemed to be sacral to some extent. Marae have an ancient history both in New Zealand Maori culture, but really originating at least in part, in the older cultures from which our Maori culture was eventually derived, from other, earlier settled, Pacific Islands. This thesis then is a genealogy, a sort of cultural history of marae, but is based on the idea and Maori sense of the whakapapa and so partakes of the nuances involved. It is these additional complexities that are referred to by the use of the word whakapapa in the title of this thesis. This thesis investigates the lineage of the marae, tracing it back to legendary roots, but it also examines the relationships between the components of the marae and also the place the marae has established within Maori (and other) communities. Beyond the historical forms of the marae that this thesis investigates are the other aspects that delineate what a marae really is. It is not simply a group of buildings at all, although this is a common non-Maori understanding of its disposition. A marae is a tapu or sacred space, and within or nearby that space are buildings whose form, function and meaning have only come to their present conjunction in (written) historic times. What makes the marae is the combination of the people and the ritual that is involved on a marae, the marae space and lastly, the physical buildings. The buildings, particularly carved houses, have additional meaning that they lend to the thread of the story. They themselves represent the whakapapa of the marae, and specifically of the hapu (or sub-tribe) who inhabit that marae. They do this by direct representation, but also by analogy and by spiritual means that are little dealt with in most literature. Ancestors in Te Ao Maori are deemed to exist within the very fabric of the building and have a renewed or continuing existence that is created in the first instance by a melange of ritual and belief. This thesis discusses both the usage of ritual to create such physical interjacence, utilised in modern times within whare (houses), and the continued use of regular ritual on marae for human functions. It is only together that a complete modern marae is created. With any of these elements missing the marae form is truncated or lessened and diminished in some ways. So, marae which have been recreated in preserved forms, such as those in museums, are discussed at length in this thesis, by contrast with marae in regular usage for 'traditional' purposes. In essence then, this is an investigation of the marae, but in terms, manners and ways, which have not always been fully or comprehensively dealt with before.

La presente tesis se fundamenta en el estudio de una selección de objetos de época medieval (siglos IX-XIII) ubicados en la actualidad en distintos países de Europa (España, Francia, Italia, Suiza, Bélgica, Alemania, Suecia). Estos objetos consisten en esculturas en madera policromada que representan la tipología iconográfica del Cristo Rey vestido de túnica o tunicato y clavado en la cruz. La propuesta metodológica arranca de una perspectiva historiográfica aplicada a la realidad de las obras existentes o documentadas, seleccionadas basándose en una definición unívoca de la susodicha tipología y consecuentemente en la aplicación de un criterio sólido de clasificación. Cada objeto se estudia tanto aisladamente como comparativamente, es decir relacionándolo con los otros objetos examinados en el escrito, y también, cuando es preciso, con obras de otras técnicas que ofrecen la posibilidad de configurar / hallar paralelos con ellos. La tesis está dividida en dos tomos. El primer tomo consta de cuatro capítulos, divididos a su vez en apartados. En el primero capítulo se exponen el planteamiento del tema examinado, los objetivos establecidos y los métodos de estudio empleados para el desarrollo de la investigación; luego se recogen las aportaciones historiográficas sobre las esculturas medievales sometidas a estudio, reconstruyendo el estado de la cuestión y destacando las contribuciones que han dado pie al planteamiento del problema. En el segundo se presenta un excursus sobre una selección de fuentes literarias e iconográficas en las que hallamos las raíces históricas, teológicas, cultuales y tipológicas de la iconografía que nos atañe. En el tercero argumentamos nuestra propuesta para una definición inequívoca de la tipología iconográfica del Cristo Rey tunicato; de la susodicha definición consigue el criterio establecido para la identificación y clasificación de las tallas, que consiste en el elemento de la túnica, que se erige como constante; basándonos en ello efectuamos un análisis comparativo ente las obras seleccionadas, comprobando para cada caso su pertinencia dentro del trabajo y evidenciando la presencia o la ausencia de elementos variables que también definen e identifican la tipología. En el cuarto exponemos nuestras conclusiones, indicando una propuesta para una taxonomía iconográfica, dejando abierto el escrito al análisis futuro de otros objetos que respondan al criterio establecido y resaltando el empirismo que caracteriza esta investigación. El segundo tomo consiste en un catálogo analítico de las esculturas sometidas a estudio, estructurado en función de su localización geográfica actual y compuesto por fichas, que se han configurado siguiendo los parámetros básicos de catalogación de una obra y contienen la información actualizada sobre cada ejemplar del corpus, incluyendo las referencias fotográficas de las obras.
The present thesis is based on the study of a selection of polychrome wood sculptures representing the iconographic typology of Christ the King, dressed in tunic or tunicato and nailed to the cros, dating from the Middle Ages (9th-13th centuries) and currently located in different European countries (Spain, France, Italy, Switzerland, Belgium, Germany, Sweden). The methodological proposal starts from a historiographical perspective applied to the reality of the existing or documented sculptures, selected on the basis of a univocal definition of the above-mentioned typology and consequently on the application of a solid classification criterion. Each art piece is studied both detachedly and comparatively, that is, by relating it to the other objects examined in the writing, and also, when necessary, to works of other techniques that offer the possibility of configuring / finding parallels with them. The thesis is divided into two volumes. The first one consists of four chapters, divided into sections. The first chapter sets out the approach to the subject examined, the objectives established and the methods of study used for the development of the research; it then collects the historiographical contributions on the medieval sculptures under study, reconstructing the state of the question and highlighting the contributions that have given rise to the approach to the problem. The second presents an excursus on a selection of literary and iconographic sources in which we find the historical, theological, cultural and typological roots of the iconography that concerns us. In the third we argue our proposal for an unequivocal definition of the iconographic typology of Christ the King tunicato; from this definition we achieve the criterion established for the identification and classification of carvings, which consists of the element of the tunic, which stands as constant; based on this, we carry out a comparative analysis between the selected works, checking for each case its relevance within the work, and evidencing the presence or absence of variable elements that also define and identify the typology. In the fourth, we expose our conclusions, indicating a proposal for an iconographic taxonomy, leaving open the writing for future analysis of other objects that respond to the established criterion and highlighting the empiricism that characterizes this research. The second volume consists of an analytical catalogue of the sculptures under study, structured according to their current geographical location and made up of data sheets, which have been configured following the basic parameters of cataloguing a work and contain updated information on each copy of the corpus, including the photographic references of the works.

The dissertation explores the work of two African artists: Lamidi O. Fakeye a Yoruba wood carver, and Ahmed M. Shibrain a Sudanese painter, as an exemplary development within African art during the second half of the 20th century. It examines their works through the sense of "tradition" as it is seen within the context of their cultures and their histories. It considers their works to be a reflection of their time, a hybrid art and a new tradition emerging within their respective cultures as a result of change in their societies. It argues against the notion that separates their art from their traditions and their histories based on the artificial barriers of "authenticity" in the literature on African art and the various categories that are related to it. It ponders on the contradictions and complexity that this situation has created and demonstrated that these categories negate historical realities. The dissertation is in two parts. The first part describes and analyses some of Lamidi's Christian and secular carvings. His work is placed in its appropriate historical perspective by revealing its close relationship to the carvings of his predecessors in terms of themes, design, content and clients. Innovation and change in his work through time and space is revealed. In the second part, the dissertation defines the connectivity of Shibrain's work to his tradition and its history, and that of his fellow artists who contributed to the development of a new trend in Sudanese art. It discusses their work on the basis of the 'idea' of art in Islam, their training and their heritage of decorative art and Arabic calligraphy. It argues that innovation, influence, borrowing and adaptation, are part of progress in art through the ages.

In 1992 the publication of a book on the crosses painted in Sicily highlighted an aspect of artistic production from that island thirteenth century until the mid-sixteenth century had kept the art workshops engaged in the incessant work to meet the needs of liturgical worship and cathedrals, monasteries and parish, can not exist in fact a Christian church without its icons of the cross. From the text, which begins however previous studies mainly by Maria Grazia Paolini, who already in 1959 had identified the peculiarities of the Sicilian production of painted crosses, it is clear that while the rest of Italy this particular genre of painting had already extinct at the end of the fourteenth century, in Sicily it is perpetuated since well over half of the sixteenth century, with a continuous renewal of figurative language from the artists but remain linked to the medieval tradition of the table-shaped cross, adorned with a rich carved frame that only in rare cases has been preserved, where the figures are often forced to strength within the contours tightened. "The originality of the crosses in Sicily since the fifteenth century is even more to be painted on both sides instead of just in the front, as the specimens were Romanesque and Gothic, except for the processional crosses and processional, to other more manageable and small format "(Maurizio Calvesi). In large crosses stational of Sicily, unlike the crosses of small size often carried out in devotional purposes and which provide a wide variety of different images, iconography has also established a pattern of responding to its liturgical function and that, except in rare cases, remains long unchanged. It provides, in the front, the figure of the Crucified at the center, the Virgin and St. John capicroce mourners in the two sides, the Pantokrator or the Arbor vitae with the Pelican's Nest, emblem Christological, top and Mary Magdalene or the cave with the skull of Adam down; in verse we find the figure of the Risen One in the center and the emblems of the four evangelists in the heads-cross. However on that occasion were left unresolved many issues especially some of the specimens presented that are still open chapters in the history of medieval and modern in Sicily; just mention for all the extraordinary cross of the Cathedral of Piazza Armerina, name-piece for the still anonymous artist who painted it. Nearly twenty years from that pioneering publication it seemed appropriate then return to the subject to try to clarify the points were still in shadow and enlarge the field of investigation to other aspects of the exposure of the cross inside the church buildings and Sicilian its enjoyment by the clergy and the assembly of the faithful. It was thought then to extend the research to both liturgical previous models, ie from when in Sicily we have cognizance of a systematic use of the cross framed with certainty, through written and iconographic sources, and corresponding certificates of the Norman period and extend it up the mid-sixteenth century, when the rules or customs and interpretations resulting from the Council of Trent will interrupt the millennial ecclesial centrality of the cross within the classroom; is to include other forms of exposure of the cross, focusing in turn on the diversity of the medium, in terms of support and material used but also change it causes in the reception of the message you want to convey. The chronological boundaries are marked by two specific dates: in 1149 is drawn up an inventory of the movable property of the Cathedral Cefalu in which it is clear, and it is one of the first times, the use of Norman processional cross, which was then detached from its rod and placed on the altar, or fixed in its vicinity; 1555 is actually the year marked on the back of the complex painted wooden machine in the middle of the nave of the church mother of Collesano, which represents the apogee for the crosses Sicilian well as a unique case in Italy of maintaining such a structure that underpins all liturgical space. In re-reading of the sources, documents and historiography on the subject, among which we note the recent and substantial publication Manufacere et sculpt in Lignamine, curated by Teresa Pugliatti, Salvatore Rizzo and Paul Russo, dedicated to wood carving Sicilian emerged not few discrepancies in the interpretation of the data available to us, that since 1992, thanks to numerous discoveries documentaries, have increased the ability to have a more complete picture, although several are still holes to be filled with reliable data, but that we tried to give an answer, however, albeit hypothetical. The research was started trying to focus on a few key points that make up the skeleton of which has developed the whole architecture of the arguments:  The painted crosses should be seen in the broader context of Calvari stational, of which they are a very special synthetic vision accomplished. The documents and iconographic sources suggest in fact that there is a possibility of varied solutions for the display of the cross: the only painted cross, the cross and the mourners painted detected in the round, the cross painted only in the direction and with the crucifix carved in front, the only carved crucifix, the group of Calvary consisting of three statues in the round.  The placement of the cross within the building of the Church. Previous studies have focused only on the vertical, disputing whether originally crosses and crucifixes were hung under the arch of the presbytery, planted on the ground or, more likely, placed above the partition and most frequently named in the documents of the entablature precisely "the trabo" or "the trabe" of the crucifix. Misunderstandings in this regard arise mainly from a misinterpretation on the arrangement of the cross in the Cathedral of Cefalu. In the temple the Ruggero is in fact still present a monumental cross opistografa, the largest of Sicily with over five feet tall, attributed by Genevieve Bresc Bautier before, and Maria Andaloro, then, to William of Pesaro, that he had to perform before 1468, the year in which he was commissioned another cross painted for the cathedral of Monreale that the painter had to make in accordance with that already accomplished for Cefalu. The bishop Preconio probably transfers the monumental cross painted under the keystone of the great arch that separates the nave from the transept of the assembly reserved for the clergy, the fact here is hanging a chronicler of 1592, Bartholomew Carandino, and said this as he created many misunderstandings about the placement of the cross originally cefaludese and other in Sicily; In fact, the crosses Sicilian are also distinguished by not having a base of support of its own, however, are still recognizable in many pin that allowed to fix the partition or to the beam and the rings for the attachment of tie rods which allowed to stabilize it. But it will be only with the internal changes made in the areas celebratory atmosphere of Trent, during which he emphasized the centrality of eucharistic compared to the cross, it is moved or the apex of the arch of the presbytery, not to "annoy" the vision of the liturgical rites, or is placed on a side altar, equated to other images that multiply on the walls of the churches. The same documents tell us, however, the placement of the cross "in mezo of the ecclesia" accentuating the appearance of more horizontal than vertical. The main function of the cross was in fact to divide the church into two zones, one reserved for the clergy and the celebration of the rites and adapted to accommodate the congregation, reflecting what Venantius Fortunatus, hymn writer of the sixth century, expressed in his Vexilla Regis, the most famous liturgical text dedicated to the cross, that at some point, the turns with these words: "his body made six scales."  The liturgical function of the verse painted with the image of the Risen Christ. It has been hypothesized that the bi-frontal crosses Sicilian serve to expose in Easter time the effigy of the resurrection, turning the table on itself. This ritual is not, however, no trace in the sources and in any case, if true, it appears more devotional custom post-Tridentine that a practice of medieval spirituality. To this is added that for some specimens of the cross, of considerable size and with predispositions logistical which did not allow the mobility of the work, even partial, such an operation is very unlikely.  Problems related to stylistic issues and attributive. Many powers, both painted crosses that of the sculptures, are not universally shared by critics as well as in some cases, among which the most interesting is that of conventionally called Master of the Cross of Piazza Armerina, has debated the cultural formation of the artists and about where they came from foreign or local origin. Part of the research has sought to clarify purely liturgical - worship, primarily with the analysis of the sources of the liturgical and patristic texts founding and prescriptive use of the cross in the Roman liturgy and its presence stational and monumental inside buildings of worship. The Latin sources are given in the original language, while those of Greece or in other ancient language in translation; also some times when you are recognized problems of interpretation, we opted for the translation notes in the current language. You are covered both by the general sources of Latin Patrology both local liturgical sources, such as the so-called Missal Gallicano (late twelfth-early thirteenth century.) Kept in the Historical Diocesan Palermo, the liturgical texts of the Seminary Library of Messina (XII sec.) and the most recent of the Central Library of the Region of Sicily and the Benedictine Abbey of San Martino delle Scale, noting that from the regulatory point of view did not exist in Sicily requirements peculiar than the rest of the Christian West. The order of the chapters should not be seen then only as a sequence of events and the works presented, but this is associated typological and functional diversification of the whole substance of the works remained and digressions diachronic general about the different uses of the cross in time. Great attention was also given to the issues related to the iconography and iconology of the images, because I believe that the read-only form and style returns only partial sense the context of this particular category of liturgical furniture. The reading of the various systems of images and the research of their semantic language did not stop the lectio faciliori simplistic, but we tried to go back to the original sources that underlie each of them, which probably over the course of time were not longer perceived as such, but they are still evidence of a figurative tradition unbroken. A significant part of the research has been devoted to the investigation of documents, putting together and rereading uniquely the large amount of documents from Gioacchino Di Marzo (second half of the nineteenth century) onwards have come to light, not having left out when possible integration with new data from unpublished documents or little known. Chapter I is focused on the use of the cross in Sicily during the Norman-Swabian, when there is no documented presence of monumental crosses but only of those small and precious that were used at the same time in processions and then placed at the altar; has analyzed the origin of the cross placed in the context of the altar and its link with the Eucharistic sacrifice and the development of the function to the so-called cross stational, that which preceded the liturgical rituals and paraliturgical the pope and the bishops who were been authorized; they browse the surviving works produced by the workshops of the Royal Palace in Palermo, none of which is now preserved in Sicily, and then the other types ranging from crosses in metal foils to those in enamel production alms. Chapter II deals with the theme of the monumental cross in the center of the church, it analyzes the origin and spread, and then focuses on the few specimens and two fourteenth century who escaped to the degradation of the time, from the Italian import center to those recognized as indigenous production. Also presented is the only specimen of thirteenth-century wooden crucifix to be come down to us, that of the monastery of Rifesi, today in the mother church of Burgio (Agrigento). In Chapter III develops the theme of the Gothic crucifix in relief, which spread during the fourteenth century and is regarded as the birth of devotional crucifix before which pour intentions and hopes of the faithful repented of his sins. Specimens most famous in Sicily, two of the "painful", Palermo and Trapani, and one of the "polite", in Monreale, will be the subject of numerous replicas, that even in the case of the most devoted crucified Palermo will come up in the early twentieth century. Chapter IV deals with the recovery in the fifteenth century the production of painted crosses and characterization of its most distinctive in the original crosses opistografe, presenting the crucifix on the one hand and the Risen other. Here we have tried to give answers, which obviously reflect the views of the writer, on many issues still unresolved about the functions of some of the works or their cultural connotation, trying to argomentarle based on reliable data. Finally, the fifth and final chapter is devoted to the various alternatives to cross painted, ranging from simple solutions, such as the carved crucifix or cross hybrid, with some parts painted and other relief, to more complex ones involving the use of crosses or crucified flanked by images of the two mourners, who have their apex in the great machine of wooden Collesano, 1555. The second part of the text is devoted to the classification of the existing works, starting with the good repertoire of painted crosses and crucifixes published in 1992, integrating them with the works then do not enter, especially in eastern Sicily, and adding the works belonging to the other types analyzed. The results of this investigation were included in a catalog raisonné of any work where there was placement, materials and support measures, provenance, iconography, any markings, date, author. Regarding Section V. of the catalog, namely the one concerning the crucifixes and sculptures of the fifteenth and sixteenth centuries, the classification is to be understood as merely illustrative and not exhaustive absolutely, because, in the absence of a preliminary cataloging, too many are works and too vast territory to be able to assume a reconnaissance sweep.
Nel 1992 la pubblicazione di un libro sulle croci dipinte in Sicilia (M. C. Di Natale, Le croci dipinte in Sicilia. L'area Occidentale dal XIV al XVI secolo, Flaccovio editore, Palermo 1992) metteva in evidenza un aspetto della produzione artistica isolana che dal Duecento fino alla metà del Cinquecento aveva tenuto impegnate le botteghe artistiche nell'incessante lavoro di soddisfare le esigenze cultuali e liturgiche di cattedrali, monasteri e parrocchiali, non potendo esistere infatti una chiesa cristiana senza la sua icone della croce (Concilio Niceno II). Dal testo, che prende le mosse comunque dagli studi precedenti soprattutto di Maria Grazia Paolini, che già nel 1959 aveva individuato le peculiarità della produzione siciliana di croci dipinte, si evince chiaramente che mentre nel resto d'Italia questo particolare genere pittorico si era estinto già sul finire del Trecento, in Sicilia esso si perpetua fin ben oltre la metà del XVI secolo, con un continuo rinnovamento del linguaggio figurativo da parte degli artisti ma restando legati alla tradizione medievale della tavola sagomata a croce, ornata da una ricca cornice intagliata che solo in rari casi si è conservata, dove spesso le figure sono costrette a forza entro i contorni serrati. "L'originalità delle croci siciliane a partire dal XV secolo è per altro anche quella di essere dipinte su entrambe le facce invece che soltanto nel recto, come erano gli esemplari romanici e gotici, ad eccezione delle croci astili e processionali, per altro più maneggevoli e di formato ridotto (dalla introduzione di Maurizio Calvesi). Nelle grandi croci stazionali della Sicilia, a differenza delle croci di piccolo formato spesso realizzate a fini devozionali e che prevedono una grande varietà di immagini diverse, l'iconografia si è inoltre consolidata su uno schema rispondente alla sua funzione liturgica e che, tranne in rari casi, rimane a lungo invariato. Esso prevede, nel recto, la figura del Crocifisso al centro, la Vergine e San Giovanni dolenti nei due capicroce ai lati, il Pantokrator ovvero l'Arbor vitae con il nido del Pellicano, emblema cristologico, in alto e la Maddalena ovvero la grotta con il teschio di Adamo in basso; nel verso troviamo invece la figura del Risorto al centro e gli emblemi dei quattro evangelisti nei capi-croce. Tuttavia in quella occasione venivano lasciate irrisolte numerose questioni inerenti soprattutto alcuni degli esemplari presentati che costituiscono ancora capitoli aperti della storia dell'arte medievale e moderna in Sicilia; basta citare per tutti la straordinaria croce della cattedrale di Piazza Armerina, name-piece per l'ancora anonimo maestro che l'ha dipinta. A quasi vent'anni da quella pionieristica pubblicazione è sembrato opportuno allora ritornare sull'argomento per cercare di chiarire i punti rimasti ancora in ombra e allargare il campo di indagine agli altri aspetti inerenti l'esposizione della croce all'interno degli edifici ecclesiastici siciliani e la sua fruizione da parte del clero e dell'assemblea dei fedeli. Si è pensato allora di estendere la ricerca sia ai modelli liturgici precedenti, ossia a partire da quando in Sicilia abbiamo contezza di un uso della croce sistematicamente inquadrabile con certezza, attraverso fonti scritte e iconografiche, e che corrisponde alle attestazioni di epoca normanna e protrarla fino alla metà del XVI secolo, quando le norme, ovvero le consuetudini e le interpretazioni, scaturite dal Concilio di Trento interromperanno la millenaria centralità della croce all'interno dell'aula ecclesiale; sia di includere le altre forme di esposizione della croce, focalizzando l'attenzione di volta in volta sulla diversità del medium, in termini di supporto e di materia utilizzati ma anche del cambiamento che esso provoca nella recezione del messaggio che si vuole trasmettere. I confini cronologici sono segnati da due date precise: nel 1149 viene redatto l'inventario dei beni mobili della Cattedrale Cefalù in cui si evince chiaramente, ed è una delle prime volte, l'uso normanno della croce processionale, che poi veniva staccata dalla sua asta e posta sull'altare, ovvero fissata nei pressi di esso; il 1555 è invece l'anno segnato sul verso dipinto della complessa macchina lignea al centro della navata della chiesa madre di Collesano, che rappresenta l'apogeo per le croci siciliane oltre che un caso unico in Italia di mantenimento di una simile struttura che focalizza tutto lo spazio liturgico. Nella rilettura delle fonti, dei documenti e della storiografia sull'argomento, fra cui si segnala la recente e corposa pubblicazione Manufacere et scolpire in lignamine, curata da Teresa Pugliatti, Salvatore Rizzo e Paolo Russo, dedicata alla scultura in legno siciliana, sono emerse non poche discordanze nell'interpretazione dei dati a nostra disposizione, che dal 1992 ad oggi, grazie a numerosi rinvenimenti documentari, hanno accresciuto la possibilità di avere un quadro più completo, anche se ancora parecchi rimangono i buchi da colmare con dati certi, ma a cui si tentato di dare comunque una risposta, seppure ipotetica. La ricerca si è avviata cercando di mettere a fuoco alcuni punti cardine che costituiscono lo scheletro su cui si è sviluppata tutta l'architettura delle argomentazioni: Le croci dipinte vanno inserite nel più ampio contesto dei Calvari stazionali, di cui esse rappresentano una particolarissima visione sintetica compiuta. I documenti e le fonti iconografiche suggeriscono infatti l'esistenza di una variegata possibilità di soluzioni per l'esposizione della croce: la sola croce dipinta, la croce dipinta e i dolenti rilevati a tutto tondo, la croce dipinta soltanto nel verso e con il Crocifisso scolpito nel recto, il solo Crocifisso scolpito, il gruppo del Calvario composto da tre statue a tutto tondo. ­La collocazione della croce all'interno dell'edificio ecclesiale. Gli studi precedenti si sono soffermati soltanto sull'aspetto verticale, disputando se in origine croci e crocifissi erano appesi sotto l'arco del presbiterio, piantate a terra o, più verosimilmente, poste al di sopra del tramezzo e più frequentemente della trabeazione chiamata nei documenti per l'appunto 'lo trabo' o 'la trabe' del crocifisso. Gli equivoci in questo senso nascono principalmente da una errata interpretazione sulla sistemazione della croce nella Cattedrale normanna di Cefalù. Nel tempio ruggeriano è infatti ancora presente una monumentale croce opistografa, la più grande della Sicilia con i suoi oltre cinque metri di altezza, attribuita da Genevieve Bresc Bautier, prima, e da Maria Andaloro, poi, a Guglielmo da Pesaro, che la dovette eseguire prima del 1468, anno in cui gli viene commissionata un'altra croce dipinta per il duomo di Monreale che il pittore doveva realizzare in conformità a quella già compiuta per Cefalù. Il vescovo Preconio, probabilmente, trasferisce la monumentale croce dipinta sotto la chiave di volta del grande arco che separa la navata dell'assemblea dal transetto riservato al clero, qui infatti la trova appesa un cronista del 1592, Bartolomeo Carandino, e questo come detto ha creato numerosi equivoci circa la collocazione in origine della croce cefaludese e delle altre in Sicilia; infatti le croci siciliane si distinguono anche per non avere una base d'appoggio propria, in molte però sono ancora riconoscibili il perno che permetteva di fissarle al tramezzo o alla trave e gli anelli per l'aggancio dei tiranti che permettevano di stabilizzarla. Ma sarà soltanto con le trasformazioni interne alle aree celebrative operate nel clima tridentino, durante il quale si è accentuata la centralità della custodia eucaristica rispetto alla croce, che essa viene spostata o all'apice dell'arco del presbiterio, per non "infastidire" la visione dei riti liturgici, oppure viene collocata su un altare laterale, equiparata alle altre immagini che si moltiplicano sulle pareti delle chiese. Gli stessi documenti ci dicono però della collocazione della croce 'in mezo di la ecclesia' accentuando di più l'aspetto orizzontale, rispetto a quello verticale. La funzione principale della croce era infatti quella di dividere la chiesa in due zone, una riservata al clero e alla celebrazione dei riti e una atta ad accogliere l'assemblea dei fedeli, rispecchiando così quanto Venanzio Fortunato, innografo del VI secolo, aveva espresso nel suo Vexilla Regis, il più famoso testo liturgico dedicato alla croce, che ad un certo punto, le si rivolge con queste parole: «del corpo suo sei fatta bilancia». La funzione liturgica del verso dipinto con l'immagine del Cristo Risorto. E' stato ipotizzato che la bi-frontalità delle croci siciliane servisse per esporre nel tempo di Pasqua l'effigie della resurrezione, rigirando la tavola su se stessa. Di questo rituale non si trova però nessuna traccia nelle fonti e comunque, se vero, esso appare più un'usanza devozionale post-tridentina che una prassi della spiritualità medievale. A questo si aggiunge che per alcuni esemplari di croce, di notevoli dimensioni e con predisposizioni logistiche che non permettevano la mobilità anche parziale dell'opera, una simile operazione risulta molto improbabile. Problemi legati a questioni stilistiche e attributive. Molte attribuzioni, sia delle croci dipinte che dei gruppi scultorei, non sono condivise unanimemente dalla critica come pure in alcuni casi, fra i quali il più interessante rimane quello del convenzionalmente detto Maestro della croce di Piazza Armerina, si è dibattuto sulla formazione culturale degli artisti e circa la loro provenienza estera o l'origine locale. Una parte della ricerca ha cercato di chiarire gli aspetti prettamente liturgico ' cultuali, innanzitutto con l'analisi delle fonti liturgiche e patristiche dei testi fondativi e prescrittivi sull'uso della croce nella liturgia romana e sulla sua presenza stazionale e monumentale all'interno degli edifici di culto. Le fonti latine sono riportate nella lingua originale, mentre quelle greche o in altra lingua antica in traduzione; inoltre alcune volte, quando si sono rilevati problemi di interpretazione, si è optato per la traduzione in nota in lingua corrente. Si sono prese in esame sia le fonti generali della Patrologia Latina sia le fonti liturgiche locali, quali il cosiddetto Messale Gallicano (fine XII-inizi XIII sec.) conservato nell'Archivio Storico Diocesano di Palermo, i testi liturgici della Biblioteca del Seminario di Messina (XII sec.) e quelli più recenti della Biblioteca Centrale della Regione Sicilia e dell'Abbazia benedettina di San Martino delle Scale, costatando che dal punto di vista normativo non esistevano in Sicilia prescrizioni peculiari rispetto al resto dell'Occidente cristiano. L'ordine dei capitoli non deve essere inteso allora soltanto come successione cronologica dei fatti e delle opere presentate, ma a questa si associano la diversificazione tipologica e funzionale di tutta la consistenza delle opere rimaste e le digressioni diacroniche di carattere generale sui diversi usi della croce nel tempo. Grande spazio è stato dato anche ai temi inerenti all'iconografia e all'iconologia delle immagini, poiché ritengo che la sola lettura formale e stilistica restituisca soltanto in senso parziale la contestualizzazione di questa particolare categoria di arredo liturgico. La lettura dei diversi sistemi di immagini e la ricerca del loro linguaggio semantico non si sono fermati alla semplicistica lectio faciliori, ma si è cercato di risalire alle fonti primigenie che sottendono a ciascuno di essi, le quali probabilmente con l'andare del tempo non furono percepite più come tali, ma rimangono pur sempre testimonianze di una tradizione figurativa ininterrotta. Una parte rilevante della ricerca è stata dedicata all'indagine documentaria, mettendo insieme e rileggendo univocamente la grande mole di documenti che da Gioacchino Di Marzo (seconda metà del XIX secolo) in poi sono venuti alla luce, non avendo tralasciato quando possibile l'integrazione con nuovi dati ricavati da documenti inediti o poco conosciuti. Il capitolo I è incentrato sull'uso della croce in Sicilia in epoca normanno-sveva, quando non è documentata nessuna presenza di croci monumentali ma soltanto di quelle piccole e preziose che venivano impiegate al contempo nelle processioni e quindi collocate presso l'altare; si è analizzata l'origine della croce posta nel contesto dell'altare e il suo legame con il sacrificio eucaristico e lo sviluppo della funzione fino alla cosiddetta croce stazionale, quella cioè che precedeva nei rituali liturgici e paraliturgici il papa e anche i vescovi che erano stati autorizzati; si sono passate in rassegna le superstiti opere prodotte dalle officine del Palazzo Reale di Palermo, delle quali nessuna è oggi conservata in Sicilia, e quindi le altre tipologie che vanno dalle croci in lamine metalliche a quelle a smalto di produzione limosina. Il capitolo II affronta il tema della croce monumentale posta al centro della chiesa, ne analizza l'origine e la diffusione e quindi si sofferma sui pochi esemplari due e trecenteschi che sono scampati al degrado del tempo, da quelle di importazione centro italiana a quelle riconosciute come produzione autoctona. Inoltre è presentato l'unico esemplare di crocifisso ligneo duecentesco a essere giunto fino a noi, quello del monastero di Rifesi, oggi nella chiesa madre di Burgio (Agrigento). Nel capitolo III si sviluppa il tema del crocifisso gotico a rilievo, diffusosi nel corso del XIV secolo e che viene considerato come la nascita del crocifisso devozionale, davanti al quale riversare propositi e speranze del fedele pentito dei propri peccati. Gli esemplari più famosi in Sicilia, due del tipo 'doloroso', a Palermo e a Trapani, e uno del tipo 'cortese', a Monreale, saranno oggetto di numerosissime repliche, che addirittura nel caso del devotissimo crocifisso palermitano arriveranno fino agli inizi del XX secolo. Il Capitolo IV tratta della ripresa nel Quattrocento della produzione di croci dipinte e della sua caratterizzazione distintiva più originale nelle croci opistografe, che presentano il Crocifisso da un lato e il Risorto dall'altro. Qui si è cercato di dare delle risposte, che ovviamente rispecchiano il punto di vista dello scrivente, sui molti aspetti ancora irrisolti circa le attribuzioni di alcune opere o la loro connotazione culturale, cercando di argomentarle sulla base di dati certi. Infine il V e ultimo capitolo è dedicato alle diverse alternative alla croce dipinta, che vanno da soluzioni semplici, come il crocifisso scolpito o la croce ibrida, con alcune parti dipinte e altre a rilievo, a quelle più complesse che prevedono l'uso di croci o crocifissi affiancati dalle immagini dei due dolenti, che hanno il loro apice nella grande macchina lignea di Collesano, datata 1555. La seconda parte del testo è dedicata alla classificazione delle opere esistenti, partendo dal buon repertorio di croci dipinte e crocifissi pubblicato nel 1992, integrandole con le opere allora non inserite, soprattutto della Sicilia Orientale, e aggiungendo le opere appartenenti alle altre tipologie analizzate. I risultati di tale investigazione sono confluiti in un catalogo ragionato dove di ogni opera si è registrato collocazione, materiali e supporto, misure, provenienza, iconografia, eventuali iscrizioni, datazione, autore. Per quanto riguarda la sezione V. del catalogo, ossia quella che riguarda i crocifissi e i gruppi scultorei del XV e XVI secolo, la classificazione si deve intendere come puramente esemplificativa e assolutamente non esaustiva, perchè, in mancanza di una catalogazione preliminare, troppo numerose sono le opere e troppo vasto il territorio per poter ipotizzare una ricognizione a tappeto.

Prior to the 1950s, visual culture within tribal environments could be separated into customary and non-customary. In the early 19th century, customary visual culture maintained visual correspondence with prior painted and carved models of the pre-contact period. In the latter part of the 19th century, non-customary painted and carved imagery inspired by European naturalism informed tribal visual culture. This accommodation of European imagery and practice was trans-cultural in its translation to tribal environments. In the 1960s, an innovative trans-customary art form evolved outside tribal environments, fusing customary visual culture and modernism. This trans-customary art form, which maintained visual empathy with customary form of the 19th century, was introduced into the tribal environment, initially, in a painted mural in 1973, and subsequently in a multimedia mural in 1975. In 1989 and 1990, this trans-customary Maori art practice informed the art of the Taharora Project at Mihikoinga marae in Ohineakai. In this Project, the 1970s transcustomary Maori art precedents were extended with non-customary form and practice. The thesis employs tataitanga kaupapa toi as a paradigm for Maori cultural relativity and relevance en-framing form, content and genealogy. Annexed to this paradigm are a range of methods: a tataitanga reo method for interpreting Maori language texts; a tataitanga korero method, conjoining a kaupapa Maori and an iconographic approach, for interpreting meaning in tribal visual culture, and a tataitanga whakairo method, incorporating stylistic analysis as formal sequence, semiology and intrinsic perception, for analysing a continuum of stylistic development from the Rawheoro School of carving to the Taharora Project. The Taharora Project constitutes the case study where tribal visual culture and contemporary art within tribal environments are contextualised in a trans-cultural continuum. The critical question that underpins this thesis is how do form, content and genealogy contribute to art that resonates with Maori? The thesis concludes that trans-cultural practice in contemporary art can resonate with Maori if the art maintains visual correspondence or visual empathy with customary tribal form. In their absence, cultural resonance can be achieved through a grounding of the content, informing the art, in a paradigm of Maori cultural relativity and relevance, a tataitanga kaupapa toi. The genealogy of the artist is a further determinant for resonance.

碩士
國立臺灣藝術大學
雕塑學系
99
The study was performed as an autobiography, examining myself. In such flourish-developing art world filled with diversities, pure Sculpture is the minority. However, the researcher myself not only devotes to but enjoys the wood carving. 　　I got familiar with arts and learned Sculpture only when entering the college. I confirmed the style of my creation when being a junior in college, gradually establishing my own comment of arts. Meanwhile, by exploring carefully, I finally found out what I really expected. 　　I describe my growing process, learning background, and development of my creation in the first chapter; theory of art creation and inspiration arose from interacting with any other art-related objects in the second chapter; idea about the material “wood”, reflection of my work as well as opinion about driftwood in the third chapter; changes of my artistic technique and what I want to express by these skills in the fourth chapter. Furthermore, in the fifth chapter, I present work analyses and introduce my own art works finished from the college until now. Finally, the last chapter presents the conclusion of the study and researching procedure, implying my expectation of the future. Key word: Wood carving

碩士
國立臺灣藝術大學
雕塑學系
104
This dissertation focuses on the investigation and discussion of individual artistic creation, for the most part by exploring and examining how the writer transformed his own life experiences, feelings and craft experience into wood carving to express his own individual understanding of those experiences. The author has loved art since childhood, and since his first contact with wood carving as a freshman, he has not stopped carving. What is the attraction in this choice of material? Entering graduate school, through a period of artistic expression and thought, what the writer discovered about the observation and experience of real life? This dissertation is divided into five chapters. In the first chapter, “Introduction,” the writer’s growth, education and sources of his artistic creativity are summarized. In the second chapter, “Historical Reflection,” the influence of art history and individual artists on the writer is narrated. In the third chapter, “Sculpture Materials and Creative Technique,” the analysis and choice of materials, the process of wood carving creation, and the various techniques involved are discussed. Chapter 4, “Creative Thinking,” represents the writer’s own creative ideals and considerations of form. Chapter 5, “Form of Works and Explanation of Works” looks over the evolution of the writers’ creative context during his time in graduate school, and then goes on to present an explanation of each piece. Finally, in the “Conclusion,” an assessment is presented and future directions are given. In terms of my thoughts about wood carving, I endow the material with geometric form according to the form of my own creativity. Through the contextual evolution of a series of works, the writer seeks and discovers the things he truly wishes to express and the reasons for his persistence in doing so. At the same time, he writes an examination of his own motives along with directions for further progress.

碩士
國立臺灣藝術大學
雕塑學系
106
ABE Nyubo is creating wood sculpture since 2007, focusing on deform of extending body. In this monograph, author describe study of wood carving sculpture’s technic and history. In addition, set on similar type of wood carving sculptor history at similar era in Taiwan and Japan can also help to deeper this study. In the first chapter, we will describe the background and methodology of this research. About the possibility and potential of contemporary wood carving, examples works from some famous artists and interview from JIANG, MENG-SI and OBATA TAKU will be used. In the second chapter, author will state by digging into his background from sub-culture and mythological perspective. Also, study on “death” and history of human creating humanoid sculpture from an immunological point of view. At chapter three, author will state through work of JIANG, MENG-SI, OBATA TAKU and sub-cultural mythological perspective. Author will focus on deformation sculpture and here gave new name “HENTAI Sculpture“. At chapter four, author will introduce his recent works, style, process and describe the current arts of long arms by subculture and mythological perspective. As a conclusion, author will state the possibility of human body, deformation of figurative sculpture and diversity, based on the discussion in this paper.

碩士
亞太創意技術學院
文化創意設計研究所
106
Global warming leads to abnormal climate and the issues of earthquakes, tsunamis, hurricanes, wind screens, floods and other natural disasters caused by instantaneous torrential rain, the invasion of land, the impact of landforms, mountains, valleys, lakes, rivers and oceans have been brought up. The creation theme of this study is based on wooden sculpture technology by using driftwood as a material for a series of creative metaphor to shape the spirit of awe-inspiring. 　　The rainfall is plentiful in Taiwan. The rivers of the five major mountain ranges are evenly distributed on the west coast. Large amounts of rain and earthquakes have caused the wind screen make loosening of soil and man-made illegal logging easily. Fish harbors and reservoirs were full of the driftwoods caused by the natural and man-made disasters, like typhoon 88 which affected even more to neighboring Kagoshima also. Typhoon, hurricane and rainstorm are around all over the world and the driftwood falls along streams covers harbors, reservoirs, and coasts. The perishable driftwood causes the problem of the environment and ecology seriously and has become an international issue of natural disaster. 　　The creation of this study conveys four concepts : 　　(Ⅰ) Make good use of a lot of Taiwan Driftwood, red cypress, cypress, Xiao Nan, camphor, beech and other precious wood by gaining from public auction legally or the application from driftwood acquisition through the identity of wooden sculptor. The diversity used of wood carving art creation, furniture creation, landscape art, sculpture, etc., can reduce the harms caused by driftwood in the river. 　　(Ⅱ) Explore the design concept of Taiwanese cultural products in the creation of woodcarvings by reusing and deformed natural resources. Activate resources, eliminate the useless and reproduce the creative life, knowledge and experience. Make ecological regeneration, activate and deform drifting wood into creative art. Reduce driftwood wastes. 　　(Ⅲ) Transmit the concepts of valuing materials, making good use of driftwood, opening traditional arts classes to encourage more drifting enthusiasts to know how to pick up, deform natural wood into creative sculptures and to experience the fun of creation. Apply the spirits of Chinese philosophers, Lao Tzu's origin of the world and Chuang-tzu's people alike, everything together, understand the value of people and nature, respect for nature, cherish the environment, reduce illegal logging, prevent over-exploitation of the mountain environment. 　　(Ⅳ) Apply the thoughts of ancient Yellow Emperor, Lao Tzu and Chuang-tzu and use the interactions of humanbeing and nature as metaphors on the creation of driftingwood. Like Chinese physicians caring for the patient's by looking at, hearing from, asking, and caring for the patients, the author takes good care of the driftingwood and create the spiritual shapes without big change of the original shapes to present the dreams and wishes of our ancestors crossing the dangerous Taiwan Strait from Tangshan county of China.

碩士
中興大學
農村規劃研究所
95
In recent years, we have strongly emphasized cultural and heritage festivals that significantly promoted the development of rural districts, cultural conservation, rural product marketing, and economic interest bringing local economic prosperity. Thus, a huge number of new cultural festivals in Taiwan were created. However, it has often been heard that some of the festivals were good and some were poor according to locals, but there is no concrete measure. Therefore, a case study of the Sanyi Wood Carving Festival was conducted to research the involvement behaviors of visitors and the correlation between festival events held and woodcarving culture. The study analysed the expectations and feelings of visitors attending the festivals, and further studied the opportunities, risks, strengths and weaknesses of festival events. The study offers the results as a reference for cultural festivals held by rural villages. The study methodology included documentation discussion and reviews, field surveys (including: attendance for observation and questionnaire investigation), and IPA to analyse the involvement behaviors of visitors to the Sanyi Wood Carving Festivals, SWOT strategic analysis of festival events, and the interests, motivation, and satisfaction of visitors who attended the festival events. From the cultural festival events in this study, it learned that festival events can be divided into four levels by correlating events and cultural relevance. From highest to lowest they are: 1st level festival events directly correlate with cultural relevance; 2nd level festival events have images or symbolic references with cultural relevance; 3rd level festival events combine local culture with associated scenic spots; 4th level festival events are unrelated to cultural relevance. We also discovered the following. 1.Most visitors are families attending together, and central Taiwan is the basic area with low reflow rates. Consumers visiting recreational sites for parents and children commonly visit those priced at NT$100-NT$500. 2.The events held are unconnected to local culture for residents, and do not transmit local stories. The 3rd level festival events are insufficiently programmed, and activity packages fail to attract the attention of visitors. Although 4th level events and services can attract crowds, the visitors consider them unimportant. Therefore, their development should have a low priority in the future. 3.It suggests that local woodcarving masters develop practical, creative, and beautiful art works combined with local cultural significance. This can improve the involvement behavior of visitors, and utilize surrounding resources as sources of legends and local uplifting stories. 4.Rural cultural festival event themes should emphasize “locality” and relate closely to local cultural elements. 5.Festival events should be aimed at 1st and 2nd level activities. In addition to delivering uplifting local stories, it is also very important for us to transmit images with cultural relevance or symbolic references showing creative workmanship.

碩士
國立臺北藝術大學
博物館研究所碩士班
100
Because of the historical opportunity that camphor tree roots were carved into marketable wood products, the local industry of wood carving has lasted for a century. Nowadays, the transformation of wood carving industry was promoted by the Sanyi Wood Sculpture Museum which further made the "Sanyi wood carving" stepping on the international stage. From rotten wood decorations, wood carvings to the conversion of wood carvings, cultural representations of wood carving affect the practices of the local community in different aspects. In this study, the exhibition in the Sanyi Wood Sculpture Museum and the culture of Sanyi wood carving were interpreted in the local context from the anthropologist Clifford Geertz''s theoretical perspective by museum ethnographic research. Within the web of meaning constructed by the interaction of Sanyi wood carving, the museum exhibition and artisans, the local knowledge in the museum exhibition was reinterpreted from the native ways of knowing in cultural logic systems. The significance of museum collections can be further clarified within the cultural context. Through interpreting the exhibition in the Sanyi Wood Sculpture Museum, the study pointed out that the changes in the style of sculptures exhibited according to the historical context were not just made by the market transformation. Instead, the interpretation of the style of sculptures was shaped diachronically by the substantial tradition and the interaction between the guidance artisans and the wood sculptures.

碩士
樹德科技大學
建築與古蹟維護研究所
92
For a long time, scholars have paid enough attention to the temple decorative art in Taiwan but neglected the biographies of the artisans as well as the recordings and researches about their crafts. Every artisan of the traditional wood carving has his or her unique style and carving craft. They are unique in their source of drawing manuscripts, painting styles, and heritage of crafts. Carving design of artisans and folk customs have an impact on the formation of wood carving styles and the inner meanings of social cultivation. The traditional wood carving of the Tung Kang School has its unique characteristics and special position in Taiwan’s wood carving styles. For the present, it has great impact on the wood carving styles of outsourcing works in China and also has a profound influence on Taiwan’s traditional temple wood carving styles. So to carry out a study is necessary. We look forward to systematically recording the crafts and drawing manuscripts of the traditional wood carving of the Tung Kang School. Otherwise, in the near future when all the old artisans fade away, nobody could remember the traditional wood carving crafts of the Tung Kang School. This thesis would explore and analyze the drawing manuscripts made by the artisans of the Tung Kang School and their carving crafts and styles, interpret their important design points, and conduct a depth investigation into their carving processes. The author also demonstrated the crafts personally based on his experiences in learning the traditional wood carving crafts of the Tung Kang School for several years and his impression so as to achieve the goal of preserving the cultural asset of traditional wood flower carving crafts of the Tung Kang School through interviews and related literature references. This study is designed to accomplish the objectives as follows: 1. Introduce the heritage of the traditional wood carving of the Tung Kang School so as to compile the historical origins and style characteristics of the art. 2. Compile the biography of Mr. Lin Jung-kun based on field study and interviewing people concerned to understand his life history. 3. Through demonstration and production of Mr. Lin Jung-kun’s students, compile and record the production flow of the traditional crafts of the Tung Kang School and the historical background of the drawing manuscripts in a systematic manner. 4. Based on the preceding descriptions, analyze the traditional wood carving of the Tung Kang School as well as its changes and impacts on the traditional wood carving history in Southern Taiwan.

碩士
國立清華大學
社會學研究所
103
This thesis explores the mechanism of local industry transformation, and the significance of the domestic market in industry transformation. By examining the process of the transformation in Sanyi’s wood carving industry, the thesis finds that the market demand for the quality and variety of the woodcarving made it possible for the industry to upgrade its skill and creativity to be more art-oriented. The accessible market, skillful wood carving masters and the support from Sanyi Wood Sculpture Museum together facilitated the transformation in Sanyi’s wood carving industry. In addition, this thesis refers to the theories of global commodity chains, industrial district and embeddedness. It reveals the transformation of producers from manufacturing laborers to craftsmen, and eventually to artists with the transformation of the industry. The industrial district, meanwhile, experienced the process of dis-embeddedness and re-embeddedness. The existence of wood carving industry not only reserves the characteristics of the local culture but also avoids the homogenization crisis of the cultural and creative industry in Taiwan.

碩士
大葉大學
設計暨藝術學院碩士班
105
Taking public transports has become part of my living since I was a college student. I watched the driver, and other passengers on the trip. Gradually, I found the fun in observing them on their looks, their moves, their belongings, etc. And saw every passengers has their own story, and compile their stories with strong affection, keep walking on their journey. Maybe have some mistakes on the way, but we always hope a happy ending. Integrated the above experiences with my Illustrator story on web side, to plan this creation of wood carving diorama – “Air Beans and the Fantasy Travellers”, that has fifty wooden dolls in a big airplane. From the process of creation of wood carving, I learned some mechanical work related to wood carving, and how to adjust my rest. By day and day, I complete many wooden dolls, my mood also has become clam and practical because of the wood carving, and will keep working on my journey of creations.

碩士
國立雲林科技大學
空間設計系碩士班
92
The craving decoration of traditional architecture has gradually developed according to the history background, the material of building and the tool of the usage. In the Shang dynasty, it started having the appearance of the wood carving decorations, and the East Chou Dynasty was period to decorate the beam, column and architrave by adopting the skill of the carvings broadly then. Immediately after Chin and Han Dynasty was after, the ruling class put forward the higher adornment to beautify the need to its need to its building. These pieces of carving not only reflected times, the local area and the delivery of specific style, but also the mental and social level of the mankind’s cultural environment. Therefore, the wood carving in the traditional architecture constructs not only in decorative beautification need, but also the trace to converse the people’s dream and the emotion and culture into substance form. So these traces also make the tradition architecture own the tense of thought the content. Learns with the attitude of science, the semiotics develops the logic and careful way, and is able to analysis the structure and inside meaning of sign within the cultural system, for example social customs, the rite system, and all phenomenon that etc. is cultural about. Hence, the tradition architecture of wood carving also can be seen as a form of the symbol. Like other sign, it has the complete sign system such as particular phrasing and the principle of organizing, and the function of expression and symbol. The purposes of this research are to establish the symbolic system of traditional culture of carving wood, the conceive of the topic and the distribution in carving for an artisan, the inner meaning and the reaction of the audience. This dissertation tries to get the structure of the wood carving from the point of semiotic. Starting with the intention of artisan, the method of carvings, the concrete present and the expression of the meaning, and has the outcomes that： 1.The principle of phasing and organizing of the wood carvings： To observe the connection between the original idea, the material and the skill of the artisans from the rule of evolution form deep structure to the form structure. 2.The skill of the idea and its meaning of the wood carvings： To observe the skill and the meaning of these articles from the original idea, the material and the skill from picture marks, indicate marks and symbolize marks. 3.The process of producing effects for audience of the wood carvings： To analyze the interrupting and interpreting methods in the process of accepting the original information. At last, this research is not only emphasis in the aspect of theory, but also to observe the spirit and of carving wood shown and its future development by means of exciting of related theories and the case of the countryside investigates. Deducing the deeper life of artisan and the meaning of symbol of the carving wood through structure, meaning and usage through the syntactic, the semantic, and the pragmatic. And then to re-realize and re-interpreting the deeper trace between artisan and carving wood and then to feel deeply.

This thesis reports on the findings of a three year study on the economIc aspects of the woodcarving industry in Kenya. Woodcarving provides one of the most important uses of wood in Kenya both in terms of economic returns (export value estimated at US$ 20 million annually) and generation of self-employment opportunities (60,000 carvers and estimated 350,000 dependants). The industry is facing an imminent collapse owing to the depletion of prime carving tree species which has supported it since 1919. The key objectives of the study were; (a) To quantify the diversity of species in trade (volumes) and their pricing trends both for the raw materials and products (carvings); (b) determination of profit margins that accrue from carving activities and prices of these species for alternative uses; (c) to look into the possibility of onfarm production of fast growing species (Azadirachta indica) for carving, as well as Brachylaena huillensis . Each of these was pursued mainly through field surveys at seven main areas where carving is carried out in Kenya. The annual carving volume consumed in Kenya is in excess of 15,000 cubic metres concentrated on about ten tree species. However about 57% of this volume is contributed by Brachylaena huillensis. Diameter profiles of logs of the carving wood is dominated by 10-16 cm diameter timber which is an indication of resource scarcity where juvenile trees are increasingly being targeted. The prices of carving wood are distorted and are far helow the market prices largely due to the prevalence of illegal sourcing from state forests. The study has estimated that the stumpage level for Brachylaena huillensis should be raised from Ksh 4 053 to Ksh 12 000 per m3 if control on the current level of depletion is to be ensured. For the other species, the current stumpage levels need to be raised three fold. The weaknesses of the existing policies and legislation governing the access to carving wood have been examined and appropriate recommendations have been given. However, as a long term measure to benefit the carvers and conservation of the last remaining East African forests, changing buyer and carving wood sourcing behaviour from unsustainable felling of slow growing hardwoods to sustainable on-farm production is discussed. The study demonstrates that Azadirachta indica can attain a carvable size with a dbh of 16 cm in 17 years. The study has also established that potential profits (revenue) which can accrue from carvings made per unit wood volume (one cubic metre of wood or equivalent to about 20 logs of I.Sm long, 20cm diameter) can be as high as Ksh 270,000 within a period of four months. This is about four times the unit value of sawn timber of some of the finest hardwoods in the Kenyan market. The study therefore calls for restrictions on the utilization of these prime carving species on uses other than carving.
Thesis (M.Sc.)-University of Natal, Durban, 2001.

Lo Ka Yu.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.
Includes bibliographical references (leaves 334-341).
Abstracts in English and Chinese.
Lo Ka Yu.
論文擇要 --- p.i
Abstract --- p.ii
Acknowledgments --- p.iii
Table of Content --- p.iv
List of Figures --- p.vi
List of Tables --- p.xv
Introduction --- p.1
Chapter 1.1 --- Questions raised --- p.1
Chapter 1.2 --- Literature in Chinese wood carving and symbolic language --- p.11
Chapter 1.3 --- Methodology and field work --- p.26
Chapter 1.4 --- Content of the thesis --- p.29
Jixiang 吉祥 carvings --- p.30
Chapter 2.1 --- An exhibition of wishes --- p.30
Chapter 2.2 --- Chinese: People of symbols --- p.32
Chapter 2.3 --- Chinese Sense of Auspiciousness --- p.37
Chapter 2.4 --- Chinese House: symbols and jixiang 吉祥 --- p.41
Chapter 2.5 --- Jixiang 吉祥 motifs in wood carvings --- p.44
Chapter 2.6 --- "Motifs, symbols and symbolic language" --- p.47
Domestic Decorations --- p.55
Chapter 3.1 --- Tai Fu Tai 大夫第，San Tin 新田 --- p.57
Chapter 3.2 --- "No. 123 village house, San Tin 新田" --- p.104
Chapter 3.3 --- Ching Shu Hin 清暑軒，Ping Shan 屏山 --- p.107
Chapter 3.4 --- "No. 93 village house, Shui Tsan Tin Tsuen 水盞田村" --- p.141
Chapter 3.5 --- "No. 32&33 village houses, Ha Tin Liu Ha 下田寮下" --- p.143
Ceremonial Buildings --- p.147
Chapter 4.1 --- Man Ancestral Hall 文氏宗祠，San Tin 新田 --- p.149
Chapter 4.2 --- Man Lun Fung ancestral hall 麟峰文公祠，San Tin 新田 --- p.155
Chapter 4.3 --- Kun Ting Study Hall 覲廷書室，Ping Shan 屏山 --- p.171
Chapter 4.4 --- Wai Hing Study Hall 渭卿書室，Ping Shan 屏山 --- p.198
Chapter 4.5 --- Yan Dun Kong Study Hall 仁敦岡書室，Ping Shan 屏山 --- p.201
Chapter 4.6 --- Sin Sui Study Hall 善述書室，Lung Yeuk Tau 龍躍頭 --- p.217
Religious Buildings --- p.246
Chapter 5.1 --- Tung Shan Temple 東山古廟，San Tin 新田 --- p.248
Chapter 5.2 --- Kwan Tai Temple 關帝古廟，Tai O 大澳 --- p.251
Chapter 5.3 --- "Yeung Hau Temple 楊侯古廟, Tai O 大澳" --- p.262
Symbolic Language of Wood Carvings --- p.277
Chapter 6.1 --- Symbols - pictorial vocabularies --- p.277
Chapter 6.2 --- Symbolic meanings --- p.284
Chapter 6.3 --- Reading the Symbolic language --- p.287
Chapter 6.4 --- Dynamics of Symbolic Language --- p.312
Conclusion --- p.316
Appendix I --- p.319
Appendix II --- p.320
Appendix III --- p.321
Appendix IV --- p.323
Appendix V --- p.326
Appendix VI --- p.327
Bibliography --- p.334
Manuscripts before 1911 --- p.334
Works after 1911 --- p.336
Other References --- p.341

Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art (Sculpture), Durban Institute of Technology, 2003.
This dissertation examines the influences and interventions affecting five selected woodcarvers working in the Northern Province over a period of fifteen years. Chapter Orneis divided into three sections. The first section explores the emergence of the woodcarving tradition through the watershed exhibition of Tributaries (1985), which claimed the 'discovery' of the master woodcarvers from the region. Shortly following on from this was the Neglected TradihmD exhibition (1988) whose role defined a turning point in the exhibiting and documentation of black artists within a changing art historical perspective.
M

"Hawaiian glossary": leaves 604-615.
Thesis (Ph. D.)--University of Hawaii at Manoa, 1990.
Includes bibliographical references (leaves 616-639)
Microfiche.
xxiv, 639 leaves, bound ill. 29 cm

The study examines the woodcraft trade in the Hazyview area through the application of the value chain methodology as adapted from the works of writers such as Kaplinsky and Morris (2001), McCormick and Schmitz (2002) and Sturgeon (2001). Several methods of collecting data were employed (triangulation): value chain analysis, interviews, observation and focus group discussions. The findings reveal that the woodcraft value chain comprises several actors: the informal craft workers, assistant craft workers, retailers and consumers of crafts, located at the various levels of the chain. The informal craft workers, who are the main focus of this study, are mostly involved in the production and selling level of the value chain, while the formal traders (e.g. craft retailers, wholesalers, curio shop owners) are involved in selling, marketing and branding of the crafts. Although craft workers also sell and 'market' their crafts by the roadside, the findings show that these activities do not yield substantial profit for them, as they lack the necessary rents to make a sustainable income out of crafts. The lack of innovation (introduction of new products), product diversification, access to new markets, and other factors that characterize the informal wood craft trade have implications in terms of competitiveness and the sustainability of the woodcraft trade as a source of income of the informal traders. The findings show that the challenges facing the informal woodcraft traders are also aggravated by high levels of competition that has emerged in recent years due to globalization and democratization, which have seen the opening of South African borders to craft workers from other parts of the world, especially Africa. Of importance though is the fact that the informal traders lack crucial rents that are essential for them to remain competitive. These rents include: resource, marketing, infrastructure, financial and policy rents. The findings show that, unless traders acquire these rents their trade remains uncompetitive and unsustainable. There are also economic and environmental implications emanating from the findings as the analysis shows that wood for carving is no longer a free natural resource as it used to be in the past years, but a scarce economic resource. The analysis further shows that the problems that traders experience are both endogenous and exogenous in nature. It is clear that traders need to deal with endogenous issues such as innovation, upgrading of the value chains, diversification and other internal issues and processes. With the necessary support, traders could deal with these problems. Policy would, however, need to address exogenous issues such as controlling the flooding of the SA craft market with cheap crafts, mostly from the neighbouring states and other countries in Africa (not excluding countries outside the continent of Africa). Creating an 'enabling environment' for the woodcraft trade is important e.g. Financial, logistic, capital and other support measures. Indeed, what has emerged in the analysis of this study is that people's livelihoods (under the current and prevailing conditions) are under threat. In the context of poverty and high unemployment levels, something would have to be done to deal with the crisis facing the informal traders. This study concludes by making the necessary recommendations on what could be done to redress the situation.
Thesis (M.Dev.Studies)-University of KwaZulu-Natal, Durban, 2004.

碩士
國立屏東科技大學
熱帶農業暨國際合作研究所
94
This is an applicable research on creative design of wood art dedicated to native inhabitant traditional totem art, taking “totem of Taitung Puyuma” as an example. Totem art of Puyuma is a commonly-seen decoration technique in traditional native inhabitant life, demonstrating the practical functional of totem art in living decoration. The traditional wood art of “totem of Taitung Puyuma”is a big feature of living decoration art. However, due to the fast development of information globalization and visualization, application of this totem to traditional decoration art has been eclipsed because of negligence. Similarly, the number of the craftsmen and artisans of native inhabitants is decreasing. If the creativity can be added to the decoration art of tradition totem in terms of design, shape and production, not only people can be aware of the transformational traces left over time, but also the totem style of traditional native inhabitant cultures can be reserved. By exploring the creative design on wood art of traditional native inhabitant totem, a complete study on the producing techniques and creative patterns has been achieved. With the literature review and field research method, the status of current craftsmen and artisans and the process of passing down the art are profoundly discussed. Furthermore, this study also discusses the status that totem has been practically applied to the traditional decoration art of wood and modern architecture arts. With those works, the characteristics and style of the traditional totem are also revealed. To attain this purpose, a descriptive statistical method is used to compare and analyze data. This study is expected to promote the development of traditional totem culture. Increase the additional values of traditional art and enhance the selling point of this valuable heritage. In this way, the inheritance of the “totem Taitung Puyuma” can be really guaranteed.

碩士
國立雲林科技大學
文化資產維護系
104
In Taiwan, restoration and conservation of wood carving statues has been the topic of seldom concerning. Moreover, it has been asked to obey international restoration rules as restoring wood carving statues. The traditionally practical thought and technique used by master workers have been denied. However, modern international restoration rules are not global satisfied. Therefore, it should be modified in Taiwan. The master workers would help modify the international restoration rules due to their experience of Taiwan folk. This thesis investigated the restoration of wood carving statue of Kai-Ji Wu-Xian-Da-Di damaged by termites from Ba-Ji-Jing Wu-Di Temple in Tainan. The Ba-Ji-Jing Wu-Di Temple has been established during Kangxi period Tsing dynasty. The restoration using traditionally practical thought and technique is checked with international restoration rules. The difference of restoration methods between practical and academic was also studied. The new tendency and possibility of restoration and conservation of wood carving statues is suggested. From the example of master worker Shi-Wei Chen, the Jin-Tang-Ge boss of Buddha appliance store, the traditionally practical thought and technique, which is in accordance with the so called “Remedial Conservation” ( might change the appearances of cultural relics), is described. The procedure of restoration is described using this example based on two principles: to keep the original function without emphasizing reversible techniques and to maintain the usable strength after the restoration. The traditionally practical thought of master workers of Buddha appliance store could become the complement idea of restoration and conservation of wood carving statues. However, their approach would be affected by their sects. The restoration of tangible cultural heritage should be based on the values and meanings of history, culture and art, but not just based on the unique standard of restoration examination using scientific instruments. The restoration and conservation of the statues of gods in temple and other movable cultural relics should consider the factors of history, belief, and beauty, so the intangible values and meaning of the cultural relics can be handed down forever.

碩士
國立高雄師範大學
視覺傳達設計研究所
94
Under the changeable information age, young people receive the impact and influence from foreign culture; nearly neglect the appreciation of ones’ own culture. No matter how the consciousness of the native country resumes, a number of people still disregard the traditional aesthetics of the culture of Taiwan. Because the majority has a misunderstanding toward the so-called internationalization is to learn from the western experience. And some of them have forgotten the value of their own land. This research not only analyses the Lucky Pattern of the wood carving on the temple, but also combines creator’s design and teaching experience for many years with the social phenomenon at present. Based on the fundamentals of semiotics, the creator attempts to obtain attention with the modern design from the public; expects to present the idea of “the old thing, the new innovation.” The results of this research are as follows: First, through the way of simplifying the mark of the complicated expression, content and information can be displayed rapidly to make the public easier to understand. Second, language barrier can be surmounted by the image then achieve goal of the communication. Third, in the pluralistic creation time, the designer must develop a concept towards multiplex thinking so as to create innovative idea of design. Fourth, design is closely bound up with the social phenomenon, how to learn to care about other ethnicities and to respect traditional culture in the course of creation is the accomplishment that a designer must possess.

The aim of this study is to offer a description and evaluation of the ceremonial carriages collections preserved in museums across Bohemia and Moravia, and to put them in the context of European artistic and artisan production in the 16th - 18th century. The study provides an overall account of the development of carriage from technical, as well as art history angle, together with the necessary overview of the issues of courtly hierarchies, ceremonials and visual demonstrations of the modern aristocracy, leading ultimately to the transformation of a simple personal mode of transport into a pompous work of art. Many important Baroque artists took part in carriage construction and decoration, and this study attempts to ascertain the extent of their contribution in this area. By presenting a descriptive summary of the history of the ceremonial carriages found in the collections in Bohemia and Moravia, and providing a comparison study with such carriages from other European countries, we can assert their position within the context of Europe-wide museum collections, as well as provide the opportunity for foreign scholars to take the Czech collections into account in their research.

过去十年，许多学者都对丽江古城的旅游发展与文化变迁进行过批评。文化真实性的丧失和文化商品化是这些批评中的重要主题。这些问题不仅反映了丽江古城在文化旅游发展下的困境，也是众多其它文化遗产地共同面对的难题。本文通过对丽江古城的木雕与绘画旅游艺术品的研究，探讨了文化旅游中的文化生产与文化想像，并回应了这些相关问题。
在田野调查的基础上，本文总结了上个世纪九十年代以来云南旅游艺术品市场的形成，以及丽江旅游纪念品与木雕绘画产品的发展历程。接下来的讨论通过三个主题来进行：传统与原始、真实与消费、混杂与重构。在传统与原始的讨论中，笔者结合东巴象形文字在现代东巴画和旅游艺术品的应用，分析了当代纳西知识分子和精英画家对东巴文化的想像和艺术再现。所谓的传统生活与文化被绑定在了文化的原始性和艺术的原始性表现中。古城艺人在继承了现代东巴画派的成果的基础上将艺术品与现代生活做了更多的联接。但是传统与原始的联接仍然在很多方面建构着当地的文化想像和实践。真实与消费的讨论中，文章认为文化真实性既有客观性的一面，也有主观性的一面，他们共同构成了文化遗产地的文化真实。许多旅游艺术品的生产都与当地的文化想像有关，它是具有实践性的文化生产。在文化商品化的过程中，文化想像也发挥着作用，它使真实与消费联系起来。不同的参与者都在用自己的方式参与着文化变迁与重构的协商。在文化生产的过程中，当地的艺人运用混杂的方式不断试验着新的可以表达自己又获得市场认可的作品。他们通过与不同人的交流与想像，在古城的混杂的空间里寻找着自己可以发声的位置，对艺术的追求和艺术家身份的建构成为其中的一个硕果。
随着旅游的发展，古城空间和职能发生了根本性的改变，新的文化群体和文化空间正在形成，对文化想像的追寻代替了对文化真实性的追寻成为了旅游活动的主导。文化遗产概念在传播与应用过程中不断被文化想像所填充。尽管古城的木雕与绘画业仍然存在许多问题，但它却孕育出了一批有理想的当地年轻人，他们在文化变迁中正以自己的力量努力着。
Since the last decade, many scholars have undertaken critical researches on tourism development and culture changes. Cultural authenticity and cultural commercialization have been the main topics in the discussions. These problems exist generally in most heritage sites. This thesis proposes to further explore these topics by studying the case of Lijiang old town in Yunnan, China. It focuses on the local woodcrafts and paintings, two popular tourist art forms, to examine cultural construction and cultural imagination in cultural tourism.
Based on field studies, I have reviewed the formation of the market for tourism art in Yunnan Province and the short history of souvenir and tourism arts in Lijiang since 1990s. The following discussion focuses on three main topics: tradition and primitiveness, authenticity and consumption, hybridity and reconstruction. The first topic studies the cultural imagination in contemporary Dongba paintings from Naxi intellectuals and elite artists by analyzing the wide use of Dongba hieroglyphic characters. Cultural primitiveness is used to represent traditional life and culture in the paintings. Although the local craftsmen and painters try to connect traditional culture with modern life, the bond between cultural tradition and primitiveness is still a major influence on cultural imagination and practice. For the second topic, I argue that cultural authenticity has both objective and subjective sides, and both sides interact with local cultural imagination at the heritage site. Many tourism arts are produced with local cultural imagination, and in turn they influence the construction of local culture. Cultural imagination is the bridge between authenticity and consumption. Various stakeholders are participating in the negotiation of cultural changes in their own ways. For the third topic, at the production side, local artists experiment with hybridity on their craft works and have found an efficient way to express their ideas as well as getting feedbacks from the market and consumers. The local craftsmen find their identities and positions in the old town as a result of communication and practices. The pursuit for art and the identity of artist are their major achievements.
With the development of cultural tourism, the Lijiang old town has completely changed in terms of both space and function. Newer and younger cultural groups and cultural spaces are emerging, seeking cultural imagination instead of cultural authenticity in the tourism activities. The concept of cultural heritage is filled up with cultural imagination during its spread in practice. Although the development of woodcrafts and paintings in Lijiang still has many difficulties and problems, it has successfully cultivated a group of local artists who have dreams and will put all their efforts to develop the local culture in their works.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
周蔚蔚.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 269-279) and indexes.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
Zhou Weiwei.
导 言 --- p.7
Chapter 第一章 --- 研究背景及文献回顾 --- p.11
研究背景及问题的产生 --- p.11
相关概念及文献回顾 --- p.16
理论资源 --- p.36
研究方法 --- p.48
论文框架 --- p.50
Chapter 第二章 --- 九十年代以来纳西民间木雕与绘画的发展概况 --- p.57
旅游艺术品市场的形成 --- p.57
丽江古城旅游纪念品（旅游艺术品）的概况 --- p.65
九十年代后古城木雕绘画旅游艺术品的概况 --- p.71
Chapter 第三章 --- 传统与原始：东巴象形文字与雕刻绘画 --- p.88
从宗教语言到艺术语言 --- p.88
主题的模式化 --- p.97
新力量的出现与主题的延伸 --- p.109
传统与原始性 --- p.115
抽离与全球化 --- p.123
小结 --- p.128
Chapter 第四章 --- 真实与消费：雕刻神灵 --- p.131
《归猎图》的传奇 --- p.131
《黑马图》与《归猎图 --- p.133
云南重彩画与云南少数民族的艺术再现 --- p.139
三朵指涉的形成 --- p.146
《东巴神像》 --- p.164
真实性的协商 --- p.173
小结 --- p.182
Chapter 第五章 --- 混杂与重构：古城与艺术家 --- p.184
“我爱丽江 --- p.185
再现古城奇观 --- p.189
凝视混杂的古城 --- p.198
在凝视中交流与创作 --- p.204
混杂的力量 --- p.209
对艺术家的文化想像 --- p.221
“要不择手段地成为艺术家 --- p.223
“丽江混混 --- p.229
中间人的缺失 --- p.233
小结 --- p.244
结 论 --- p.250
文化想像、文化生产与文化遗产 --- p.250
古城、木雕绘画与旅游艺术品 --- p.256
尾 声 --- p.259
Chapter 附录一 --- 现代东巴画派主要画家简介 --- p.261
Chapter 附录二 --- 古城木雕绘画艺人简介 --- p.263
Chapter 附录三 --- 田野调查访谈的主要人物与时间列表 --- p.265
Chapter 附录四 --- 本文所引用图表索引 --- p.266
Chapter 附录五 --- 本文所引用木雕绘画作品索引 --- p.267
英文参考文献 --- p.269
中文参考文献 --- p.275
未经发表的资料 --- p.280

In the past, protected natural areas have excluded local communities from the land and denied them access to valuable natural resources. However, it is becoming accepted practice to ensure that neighbouring communities benefit from the conservation of these areas. In accordance with their neighbour relations programme, the Natal Parks Board initiated a study to establish the need for indigenous wood in the region of the Thukela Biosphere Reserve (TBR), particularly for the woodcarving industry, and to determine sustainable methods and levels of harvesting. Part of this study was to determine the socio-economic issues surrounding the woodcarving industry and other users of indigenous trees, and these are addressed in this thesis. A multidisciplinary approach was adopted to address as many aspects of natural resource use as possible. The principle of sustainable development was employed to explore the nature of the often complex relationships between local communities and protected areas, and local communities and natural resource use. This principle calls for the integration of social, economic and ecological issues, with special attention to the notions of futurity, equity and the environment. The biosphere reserve is considered to be an appropriate vehicle for achieving sustainable development and the sustainable utilisation of resources, both internationally and in the South African context. However, in practice there are many obstacles to overcome as was observed in the case of the TBR, where security of land tenure and the associated control of and access to natural resources are a source of major conflict in the area. In view of this conflict, a flexible and sensitive methodology that promoted rapport-building was selected, namely Rapid Rural Appraisal (RRA). Mainly verbal RRA techniques were used to gather information on the use of and demand for indigenous trees by the local communities residing within and surrounding the TBR. This information included species names, species uses, estimations of quantities harvested, perceptions of the resource base, conservation practices and harvesting techniques, economic relations, constraints, and relationships between the resource manager and the resource user. Indigenous trees were found to be an important resource for fuel, construction, medicine, carving, and to a limited degree, food, to local people living within and surrounding the TBR. The predominant uses of wood were for fuel and construction materials. Access to these resources varied, depending on the area or farm where people resided. People living in degraded areas outside of the TBR experienced great difficulty in harvesting wood for fuel or building, and either harvested it illegally off privately-owned land or purchased it at great cost. Generally, it was found that on farms where there were very few families present, residents were allowed greater access to wood compared to those living on farms where many families resided. There were also specialist users living in the area, namely traditional healers and woodcarvers. Limited information was collected on the medicinal use of trees. However, the preliminary data suggests that there is a great need for this resource. It was found that there are very few woodcarvers present in the study area. As the carving industry was the original focus of the study, detailed information was collected from these men. It was found that carved products are largely produced for local markets and included traditional weapons and traditional household implements such as meat trays and spoons. Carvers were finding it increasingly difficult to access wood, and the income they derived from this trade was supplementary. Although it is not perceived possible that the indigenous wood requirements of all local people in the area can be met by the resources within the TBR on an ongoing basis, management of bush encroachment may increase the supply of firewood and construction materials, especially to those farm residents who were experiencing difficulty in this regard at the time of the study. Through partnerships with more specialist users of indigenous trees such as woodcarvers and traditional healers, access to these resources too may be improved. Although more detailed and participative research is needed before substantiated management plans can be formulated, it is hoped that through this study a foundation will be laid to direct future research efforts, dispel misunderstandings, and be part of the effort required to ensure sustainable development of natural resources.
Thesis (M.Sc.)-University of Natal, 1996.

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, in partial fulfilment of the requirements for MA by Coursework and Research Report, Johannesburg, 2017
This research report explores the influences of memory in selected works by two visual artists: South African Kemang Wa Lehulere’s Remembering the Future of a Hole as a Verb 2.1 and Polish artist Ursula von Rydingsvard’s Droga. The report examines the ways in which personal memory can inform creative practice and the surface difficulties such endeavours may present. These works and writings on memory and creative practice inform my own practice, through which I investigate ways of expressing my memories of my grandparents’ carpentry workshop in Sunnydale Eshowe in KwaZulu Natal, South Africa.
XL2018

This diploma paper contains a business plan for Jiří Hrubeš, which has been processed on the basis of theoretical and practical knowledge as the base for setting up his new business of cabinet-making, wood-carving and renovation and which is also supposed to serve as the basis for getting the needed start-up money support in the form of interest-free credit from support programme START. Being granted interest-free credit from the START programme, the hope for success of the project and its implementation in future is assured.